Calligraphy appreciation includes the following points
1. About the beauty of calligraphy
As an art form, calligraphy is a treasure of ancient Chinese culture and unique in the world of. It has strong regional and national characteristics. The art of calligraphy is embodied in practical words. Whether it has charm and beauty is the most basic thing to pay attention to when appreciating calligraphy. The beauty of calligraphy can only be expressed in two aspects: "real" and "virtual", that is, "form" and "temperament".
1. "Reality" (form and quality) aspect: "Reality" (form and quality) aspect is tangible and visible. It is the external form; it is mainly appreciated from the lines and frame structure; it includes the use of brushes, structure, composition, etc.; the use of brushes can be divided into slow and rapid, ups and downs, twists and turns, the strokes can be divided into front and side, hidden and exposed, and the shape of strokes has There are squares and circles, and we also need to pay attention to the strength and posture of the pen; the structure has legal principles such as oddness, density, and violation; the composition has methods of expression such as guest and host, virtuality and reality, avoidance, coherence of Qi and pulses, and the form of rows and columns. The three are both different and complementary to each other.
2. The "virtual" (temperament) aspect: The "virtual" (temperament) aspect is intangible, that is, the inner spirit, which must be reflected in the author's personal characteristics and the handling of lines and structures. Get to know the artistic style. Including spirit, charm, artistic conception and other contents. The two aspects are interdependent and use each other, and both show the aesthetic value of calligraphy works. The spirit, charm, and artistic conception are all intangible things, and they need to be expressed through tangible brushwork, structure, and composition. Spirituality is the soul of the art of calligraphy. When ancient people commented on calligraphy, they said that "spiritual spirit is the most important thing, followed by form and quality". But at the same time, they also pointed out that "when the rules are lost, the spirit will not exist." The beauty of spirit can only be expressed through the beauty of form and quality. Qiyun is the life of the art of calligraphy, the bridge between form and spirit, and the medium for expressing emotions. Calligraphers have mastered skilled skills and are lucky enough to use Qi to move their brushes. Just show it. Artistic conception is also the inherent beauty of calligraphy art, including artistic conception, sentiment, style, character and other connotations. Compared with expression and charm, it focuses more on the expression of the author's subjective spirit, which is a higher level of calligraphy aesthetic content. The artistic beauty of calligraphy can be truly felt through the lines of the work.
2. About the Eight Methods of Yongzi
The Eight Methods of Yongzi are the rules for using brushes in Chinese calligraphy. Taking the order of the eight strokes of the word "Yong" as an example, the method of writing in block letters is explained: the point is the side, the side edge is steep, the stroke is spread out, and the stroke is full; the horizontal direction is the rein, the paper is dropped against the edge, and the edge is slow and sharp, Don't follow the edge of the pen and pass it flatly; a straight pen is a force, and it should not be too straight. If it is too straight, it will be stiff and weak, but it must be straight to see the curve; the hook is a tì (tì), hold the pen at the front, and concentrate the force on the tip of the pen; raise the pen The horizontal stroke is a strategy, the stroke is the same as the straight stroke, and the strength is at the end of the stroke; the long stroke is a sweep. The starting stroke is the same as a straight stroke, the stroke is slightly thicker, and the force must be delivered; the stroke is short to peck, and the stroke is drawn to the left, fast and sharp; the stroke is stroke, the stroke is made lightly, and the folded stroke is laid out slowly, and the closing stroke is important to be subtle . According to legend, it was passed down by Zhiyong in the Sui Dynasty, and one theory is that it was created by Wang Xizhi of the Eastern Jin Dynasty or Zhang Xu of the Tang Dynasty. Because it is the basic rule for writing regular script, later generations also introduced the Eight Methods as the name of calligraphy.
The eight strokes of the character "Yong" are actually the eight strokes of the character "Yong", which represent the general strokes in Chinese calligraphy, namely "side, le, nu, 误, ce, plunder, peck, and 甔". The explanation is more clear in Zhu Zongyuan's book A Brief Introduction to Chinese Calligraphy.
(1) The point is the side (like a bird flipping over on its side);
(2) The horizontal point is the rein (like the reins used to rein in a horse);
(3) Upright is a crossbow (with force);
(4) Hook is a 误 (jumping appearance, the same as leaping);
(5) Lift is a policy (such as policy (a whip used by a horse);
(6) Skimming means plundering (like using a grate to pluck hair);
(7) Skiving short means pecking (like a bird pecking an object);
(8) The sound of Zhe is narrow, the sound of Zhe is narrow, the stroke is made into Zhe, and the pen edge is open).
(1) The Origin of the Eight Methods
The Eight Methods of Yongzi take the stipple writing method of Yongzi as an example to illustrate the use of pens and the method of composing characters in regular script. Its origins are as follows:
1. Cui Ziyu, Zhong Yao, Wang Xizhi said
Tang Zhang Huaijin's "Yutang Forbidden Classic": "The Eight Methods originated from the beginning of the Li character, and later Han Dynasty Cui Zi, who followed King Zhong of Yuli, taught him how to use the eight styles of calligraphy in Wanzi.
(The official script here refers to regular script, not official script. Regular script in the Tang Dynasty was called official script. In the Eastern Jin Dynasty, Wang Xizhi also called it official script. What we now think of as official script was called eight points at that time.)
Li Pu of the Yuan Dynasty Guang's "Xue'an Bafa? Bafa Jie": "In the past dynasties and below, calligraphers have mastered the wonderfulness of calligraphy. Those who are famous in the world include Zhong Yao and Wang Xizhi in the Wei and Jin Dynasties, Ou (Yang Xun), Yu (Shi Nan), The generations of Liu (Gongquan) and Yan (Zhenqing) also had books in their respective families, which were passed down. Unfortunately, they have been lost for a long time, and the original works are not preserved. Only the Eight Methods of the word "Yong" written by Xizhi, *** "Samadhi Song" ", spread throughout the world."
"Fa Shu Yuan": "Wang Yi Shao Gong Shu focused on the eight methods of 'Yong' for fifteen years, and with the power of the eight methods, he can penetrate everything."
Bao Shichen of the Qing Dynasty wrote in "Yi Zhou Shuang Ji Shu Shu Shu Xia": "The characters are gathered to form a chapter, and the paintings are accumulated to form characters, so there are eight methods of painting. In the Tang and Han Dynasties, it was said that the eight methods originated from the beginning of Li characters. "It was passed down to Cui Ziyu, Li Zhong, Wang and Zhiyong Zen masters, and it is a summary of the ancient and modern calligraphy." It is also said: "The eight paintings of the character 'Yong' are used to prepare the eight skills." "
2. Zhiyong's theory
Song Chensi's "Shu Yuanjinghua": "The Sui Dynasty monk Zhiyong inspired his instructions and learned from Yu Mijian Shinan, and he taught it here. Sui Guangzhangyan"
3. Zhang Xu said
Song Zhu Changwen's "Mo Chi Pian" and "Zhang Xu Chuan Yong Zi Ba Fa" are the same as "Ode to Liu Ba Fa" and "Yan Lu Ba". Song of Dharma".
The "Samadhi of Calligraphy" in "The True Story of Calligraphy" by Feng Wu of the Qing Dynasty says: "Every study must have essentials, if the net is in the outline, it is orderly and orderly. The word 'Yong' is the outline of all words. Yes, if you know this, there are thousands of words."
(2) The Eight Methods of Yongzi
1. The point is the side (like a bird turning sideways)
Side means tilted incorrectly, and the point should be tilted, like a boulder standing on its side, dangerous and majestic. If the patient is lying down or standing upright, he will lose his momentum due to dementia. The dots of Yong character are closed with an exposed edge to correspond with the horizontal painting below.
2. Horizontal reining (like reining a horse)
Handwise and upward, like a rider tightening the reins, the force goes inward and runs straight through the crossbow (vertical) . If the pen is dragged horizontally or tilted downwards when lying down, it will become tired and weak. Write against the front, go slowly and return quickly, and maintain the trend of "go against the front and go out flat, and you must close when you go forward". It is not advisable to slide along the front to avoid being light and dull.
3. Upright as a crossbow (Tongnu)
Nu means powerful. The vertical painting adopts the posture of straight inside and curved outside, such as an upright crossbow. Although the shape is curved, the quality is contained. Infinite power. Therefore, the vertical painting should not be too straight. It must match the overall situation of the font. Only by seeing the straightness in the curve can we have the momentum to advance. Too straight is like a dead tree standing on the ground, although it is upright but weak.
4. The hook is a crotch (the same as jumping)
When making a hook, you first squat down to gather momentum, then quickly lift the pen, then twist the front and twist around, taking advantage of the trend. Take the lead and focus on the cutting edge. If a person wants to jump, he needs to squat down to accumulate strength, and then jump up suddenly. The reason why the edge is not flat is to echo with Ce (picking) to draw the pen.
5. Ti is a whip (such as a whip for riding a horse)
The original meaning of "ce" is a horse whip, and here it is extended to mean "ce". The pick-up painting is mostly used on the left side of the characters, and its tendency is to tilt upward to the right, which corresponds to the stipple painting on the right, forming a back-to-back posture. The design of the word Yong is slightly flat, mainly in response to the peck (horizontal stroke) on the right. Although the two brush strokes are inconsistent and inconsistent, their hearts and minds are connected and corresponding. The posture is slightly upward, the force is used to write, and the force is used to close the attack.
6. Skip to plunder (plunder means to brush and plunder)
It is like a grate plundering hair, and the shape is like a swallow plundering under the eaves. It is said that writing a sweeping painting should be like brushing the surface of an object with your hand. Although the strokes are gradually accelerated and the strokes are light and crisp, the force must be sent to the end, otherwise it will be floating and weak.
7. The short abbreviation means pecking (like a bird pecking something)
It means that the horizontal abbreviation should be written like a bird pecking. The writing is fast and sharp. When the pen is written, it comes out from the left, sharp and slanting down, with lightness, agility and strength as the winner.
8. Na is Zhe (the sound of Zhe is narrow, the split is Zhe, and the stroke is open)
There are two meanings here: one refers to Zhe drawn in the font structure In terms of function, the original meaning of "Zhe" refers to the dismemberment of sacrifices for sacrifice, which means disintegration and splitting. The Nahua in regular script comes from the wave of official script, and the wave of official script is to break up the bent and wrapped form of small seal script and make the font open to the outside. Therefore, official script is also called Fenshu, and Na in regular script also plays this role. The strokes of regular script are cohesive but outward, making the fonts develop smoothly and openly. The second is that this straight line should be written vigorously, sharply and with momentum. The original meaning of Zhe is to dismember, and dismemberment must be split with a knife. Zhehua means to split with a knife.
When writing, you should go against the front and fall gently, then go out slowly and gradually become heavier after coming out to the right, and at the end, the line should be slightly upturned and the front should be closed. It should be calm and powerful, with twists and turns, and the momentum should be natural.
In the conclusion of the eight methods, Lu Zhao said: "The eight methods of Yongzi are the stipples." But the eight methods do not exist in isolation. We are considering how to arrange each stipple, which actually involves the structure rules of the characters. Therefore, the author of Bafa intends to explain the writing and combination of basic pointillism through the analysis of Yongzi.
3. About writing speed
Writing speed means that when the calligrapher writes calligraphy, the writing speed may be faster or slower, or paused or paused according to the needs of the writing content. Grabbing, refreshing or astringent writing postures, and producing completely different pen and ink effects. The speed of writing is the most important and critical technique in the art of calligraphy - an important component of brushwork. Together with the angle of the pen tip and the depth of the pen tip touching the paper, they are collectively referred to as the "three elements of pen technique". The three are closely connected, interdependent and inseparable. Generally speaking, the speed of writing is a combination of the angle of the pen tip and the depth of the pen tip touching the paper to complete a calligraphy work. However, the state of the writing speed affects and restricts the artistic effect of other elements of the pen to a certain extent, and even affects the artistic value of a painting. However, when people analyze and study brushwork, they often pay more attention to factors such as the angle of the pen tip and the depth of the pen tip touching the paper than the speed of writing. As a result, many calligraphy enthusiasts, especially beginners, despise and ignore the speed of writing. Affects the improvement of calligraphy skills. Looking at the excellent calligraphy works of ancient and modern times, all calligraphers have endowed calligraphy with the accuracy, ingenuity, subtlety, changeable and subtle, exquisite and spiritual grasp and control of the speed of writing, as well as the perfect coordination with other elements of writing. The works are magical, timeless, soul-stirring, and heart-shaking.
Generally speaking, brush calligraphy should be done at a slow writing speed. This is determined not only by the beautiful characteristics of expressive power of calligraphy through an art form that is implicit, hazy, and restrained in power, but also by the special tools and materials used in calligraphy. However, in the process of learning and creating calligraphy, it is also difficult to achieve the effect that the art of calligraphy should achieve by blindly writing at a slow speed, lacking the necessary rhythm changes such as quickness, pause, rush, astringency, and bending. Then, based on a more specific analysis, the writing speed of brush calligraphy generally manifests itself in the following states: Slowly. This state is like white clouds in autumn, dripping water and rocks, slowly, slowly, slowly, and there is huge internal power in the slowness. The slow writing speed gives people the outstanding impression and feeling that it is slower than it should be, and requires the calligrapher to have strong pen control ability. Otherwise, the written lines are often dry and lack connotation. It is precisely because of the slow writing speed that the lines written appear calm, full, round, strong and healthy. The charm of calligraphy art lies in expressing the rhythm and beauty of movement in a quiet posture. Therefore, slow writing speed is the mainstream of calligraphy learning and creation. When watching calligraphers writing, they often look calm, and their movements appear to be light and airy, but in fact they are always carrying their strength, and their pens are flowing like clouds and flowing water, neither angry nor angry, nor impatient (of course, this state of the calligrapher is the result of the passion for creation) The superficial phenomenon is not discussed in this article), and it is almost impossible to see the "quick pen galloping" phenomenon that ordinary people imagine. These experts understand the importance of speed in writing calligraphy, so the calligraphy works will naturally be extraordinary and dazzling. Many calligraphy enthusiasts have not fully understood the true meaning of the art of calligraphy. They think that when writing calligraphy, the faster the writing speed, the more forceful the effect, and the more "powerful" and "vigorous" it appears. , It's a pleasure, but the lines written are far from achieving the artistic effect they should have, and their writing often gives people the impression of being impetuous, pale and weak, and lacking in solid basic skills. Therefore, for many calligraphy enthusiasts, especially beginners, slow and slow writing speed is a basic skill, which must be mastered and controlled more skillfully through repeated training and careful analysis. Generally speaking, training of slow and slow writing speed The operating method is to maintain a peaceful mind, adhere to the principle of stopping with stillness and winning with slowness, and write stroke by stroke in a down-to-earth, stable and effective manner. Rapid and severe. This state is like a horse running loose, a flood rushing, roaring, and unstoppable; the rapid writing speed gives people the feeling and impression that the writing is quick, decisive, fast, and clean. As mentioned before, slow and slow is the leading form of writing speed in calligraphy. However, under the premise of the general trend of slow and slow writing speed, there is actually a state of fast writing speed: however, compared with the slow writing speed , the rapid writing speed takes a back seat.
The rapid writing speed is often interspersed with the calligrapher's emotional ups and downs, the specific needs of the content of the calligraphy, and the different writing materials. of. Generally speaking, calligraphers tend to write at a rapid speed when their passion for creation reaches a climax, when the content of their calligraphy fluctuates greatly, or when their pen tip is filled with too much ink. The power of the lines they write is exposed, and white spots and dry brush strokes continue to appear. It has strong visual impact and sharp and refreshing artistic appeal. It should be said that the rapid writing speed is in a secondary and subordinate position in the entire writing state, so it cannot be used consistently. Beginners should especially pay attention to the proper use of fast writing speed. Generally speaking, , we should try to reduce the occurrence of rapid writing speed to avoid being slippery and impetuous. Astringent and stagnant. This state is like nine oxen climbing uphill and sailing against the current, moving forward with difficulty and faltering. The stagnant writing speed makes people feel clearly that the writer seems to be struggling to overcome the mountains and rivers that lie across the pen, moving forward like a snail. The lines he writes are ancient, vigorous, and spicy, and the ink is dignified, occasionally leaving behind inadvertently. Some dry pen marks. Although the sluggish stroke speed does not appear very frequently in a calligraphy work, the successful use of the sluggish stroke speed is the easiest to express the "vivid" and "vital" effect of calligraphy art. However, the slow and slow writing speed cannot be used excessively in calligraphy, let alone used casually. Otherwise, it will easily make the whole calligraphy look "broken", "chaotic", lifeless and lifeless. Generally speaking, the slow and slow stroke speed is mostly used in the "breathing" part of the entire work, that is, when the ink reserve at the tip of the brush is about to be exhausted. Some people's hands deliberately tremble when they are hesitant to write, and the lines they write seem to be very powerful. In fact, this is a kind of sick pen, which has a strong taste of artificiality, but is actually undesirable. The appropriate approach is to maintain the center angle, increase the depth of the pen tip on the paper, slowly but surely push the pen tip out, and close the pen without stopping. Stopped. This state is like a giant whirlpool with a dragon nourishing its eyes, seemingly still but actually moving, gathering momentum and sharpness. The speed of pen writing is manifested by the pause during the process of the pen touching the paper. This kind of writing looks like a pause, but in fact, with the difference in the depth of the pen touching the paper and the angle of the pen, the "origin" of the pause is undergoing subtle and profound changes. At the same time, although the speed of Dunque's writing "stops", he is still ready to write the next stroke at any time. Therefore, the speed of writing suddenly appears to be a pause, but in fact it is moving, or even brewing a bigger move. Therefore, pause is an indispensable state for the speed of brush calligraphy, and it is widely used. Because, without the correct use of pause and stroke speed, calligraphy is often prone to defects such as lack of connotation and textureless lines, making it difficult to produce strong artistic effects and appeal. Generally speaking, the biggest characteristic of the speed of writing is seeking changes in static state. The speed of writing is just a means, the purpose is to increase the thickness and artistic appeal of the lines. Therefore, when using a sudden stroke speed, you must combine stillness with movement, and express the dynamic effect of calligraphy art through a relatively static stroke speed. Scramble. This state is like a fish leaping over a dragon's gate or a hungry tiger pouncing on food, thrilling and fierce. The main performance of the scrambling writing speed is that the lines are flying and sharp, and the pen is broken and the meaning is connected, which makes people clearly feel the refreshing and decisive writing posture of the calligrapher under the excitement and surging creative mentality. "The fighting speed of writing is faster, fiercer and more intense than the fast and severe writing speed, and the lines may even be broken. Watching calligraphers use the fighting speed to write books gives people a feeling of storm, lightning and thunder. The feeling and impression of Pingu writing are mostly suitable for the creation of calligraphy styles such as cursive and wild cursive. Of course, this kind of writing speed also appears from time to time in other calligraphy styles, which often requires calligraphy writers. The ability to control the brush must be strong, otherwise it is easy to have the disadvantages of revealing the edge of the brush, giving people the feeling of not being calm and having poor basic control of pen and ink. Therefore, beginners should treat it with caution and not do it casually. It can be regarded as a kind of skill. Study and learn the technique of writing speed. When creating, you should wait until your ability to control pen and ink is fully improved before using it appropriately. Competing for writing speed generally requires a shallow depth of the pen tip touching the paper. Sometimes the pen tip is almost touching the paper, and the pen tip angle is also required. The center is better. Inflection. This state is like a spring silkworm cocooning or a hibernating snake, bending to form the whole picture. The speed of inflection refers to the completeness and accuracy of the entire calligraphy or the entire word. Perfect, straighten the brush stroke, do not pause or frustrate, and use the pen "carefully" without irritation or violence, in order to achieve the desired artistic effect. The speed of inflection is most typical when writing folded paintings.
Because folding painting is a special type of strokes in Chinese calligraphy, if the writing speed is too fast, it is easy to cause the sharp edge to be exposed and the extension is serious; if it is too slow, it may be too fat and out of proportion. Therefore, when using the inflectional writing speed, you should slightly lift the pen edge, straighten the pen edge, and slowly fold it over to produce better results. Of course, the speed of inflection strokes is not only used in folding paintings, but can also produce better effects when used in other strokes. The implicit, rounded, coherent and other artistic effects produced by the speed of inflection often add great appeal to the entire work, making readers fascinated and amazed.
In short, writing speed is an important technical point in calligraphy learning and creation. It requires continuous learning, exploration, and practice to gradually master it. The several writing speeds mentioned above cannot be viewed in isolation and mechanically, but must be linked to other calligraphy techniques and analyzed, studied, and studied together. Otherwise, it will be difficult to achieve the expected learning and creation purposes. (Author: Zhang Yunguo Source: "Chinese Calligraphy and Painting News")